text:
Flow: Being a player at work makes work feel like play
By Jeremy Sherman on February 26, 2007 in Essay
By now you've no doubt heard of "flow," the highly pronounceable psychological term coined by Mihaly Csikszentmihalyi, the psychologist with the nearly unpronounceable name. In case you've missed it, flow is another name for being in the zone, at the top of your game–whatever it may be–and perfectly involved with what you're doing, undistracted by any other concerns.
Csikszentmihalyi has spent over 25 years investigating the sources of true happiness. His conclusion: happiness is not that state of supposed bliss, lounging seaside or poolside, lapping up the sun's rays and a piña colada. In fact, idle time tends to make people restless. Rather, what makes us happy is total immersion, an all-consuming state of engagement on the edge your seat, doing what you do best and getting better at it. Flow is the pursuit of mastery–and getting there is more than half the fun.
I was out with my jogging partner this morning. She jogs nearly every day, so she can handle the fast uphill at the start of our eight-mile running trail. She talked; I panted. She wanted to think something through out loud.
Yesterday she found herself working against an undertow of disappointment that was pulling her out to that old sea of career doubts. She described the undertow one way, then another–something about feeling like an imposter in her profession, but also something about how even the real climbers in her profession are unsatisfied, and then something else about them being unimpressive anyway.
She is a business consultant and for three years has been working on a case study book. Browsing on Amazon yesterday, she found a book very much like the one she has been writing. I said that's good news; publishers don't like to publish a book without comparables that prove there's a market for it.
It wasn't that, she said. It's not that she thought someone had stolen her thunder. Rather the book gave her the impression that there was no thunder to steal. The book was no big deal.
Ah, welcome to midlife crisis, I said, or (since she's my age), it's probably one of those periodic midlife crisis refresher courses we get. In midlife something pops. We fall out of flow and are forced to notice that our lives are smaller than we once dreamed they would be. We struggle to adjust.
My term for the particular bubble this Amazon book burst is "founder's fascination." I can get very excited about a project I'm hatching and assume by extrapolation that others would be equally fascinated, forgetting that at least half of my excitement stems from my being the project's founder. The project is mine and if it goes well it will reflect well on me, so of course I want it to go well and am excited by the prospect that it is or will be soon. With founder's fascination, I forget that to an outside observer without skin in the game, it's just another project.
Founder's fascination is a vocational hazard of entrepreneurship. It's a kind of mind-blindness, a failure of empathy, whereby one has trouble putting oneself in someone else's shoes. Entrepreneurs are often surprised and exasperated that their potential backers, employees, and customers just don't see how thrilling their project is.
Founder's fascination is a vocational hazard–but it's also one of the keys to entrepreneurial success. It often provides the thrill that keeps entrepreneurs pushing forward until their ventures gain momentum of their own. An entrepreneur who like my friend steps back and sees the project plainly risks losing the momentum essential to any start-up. You've got to romance your project. Aggrandizement and even self-aggrandizement are liabilities but also assets to the visionary.
I asked my friend if the wind was out of her sails mostly because she feels she hasn't chosen a great career or mostly because she doesn't feel she's been doing great within her career. She said she couldn't tell. The conversation drifted toward that old chestnut of a dilemma: Should I stay or should I go? She was in what she refers to as "four bell hell." You want to hear the bells ring. So what do you do when you were hoping to hear seven bells ringing but you hear only four? Do you leave and look for a place where all seven will ring, or do you convince yourself that four bells are enough?
She said maybe her work just isn't meaningful enough. That reminded me of another jogging friend who once, struggling against the same undertow, blurted, "I want to make a difference; I want to feel as though I'm making a difference." I've always loved that juxtaposition because it highlights the contrast. Making a difference and feeling like you're making a difference are not the same thing.
For two decades I was a political activist. I moved from cause to cause, chasing the work I thought would make the greatest difference in the world. I wanted very big work, profound, life-saving work, until I had my midlife crisis. Then I recognized the ways in which I was counting on grandness to sustain me–and saw it wasn't working. I had devoted years to the nuclear arms race, world hunger, and global warming. I thought working to make a big difference would provide me with a rich supply of the feeling that I was making a difference. But I came to realize that when I was sustained in my work, it was because of flow–not grand significance.
It was the same for my fellow activists. At forty, looking around at who had stuck with it and who had dropped out, I didn't see high correlation between the size of the issue they were working on and their sustained involvement. Rather, activists who were caught up in the flow of phone calls and speaking events and financial support and projects–they were the ones who stayed, regardless of whether they were working on a big campaign or a small one. No matter whether they thought or acted locally or globally, they felt locally. They were sustained by their immediate environment or they dropped out.
There are other terms for being in flow: being in the groove, the pocket, the zone. I like "flow" because it suggests throughput. Happiness comes from disappearing into your role as a conduit through which challenges flow.
With my friend, I think the undertow may not be the problem. That undertow is always there. The question is what's going to keep you from drifting into its current. Flow is the answer. If your work consumes you, you don't have time to wonder about it much.
I mean to be quite specific about what's flowing through you when you're in flow. My decades pursuing flow as an amateur musician illustrates the point. We musicians deal with a perpetual bait-and-switch effect. Just when you master that impressively difficult piece of music, it's no longer impressively difficult. Though we chase the opportunity to play something impressively difficult, we never get to do it because as soon as we can play something, it is by definition no longer impressively difficult. So what sustains us in this endless game? I'd say it's the micro-differences along the way. It's that moment just before the piece becomes old hat when it's still a little impressive. Now each of those moments is ephemeral, at least to an ever-improving musician. These moments aren't exciting for long. So the trick to flow is to have new ambitions coming in at a rate commensurate with the rate at which the thrill of past ambitions subsides.
Maybe this is what Freud meant about sublimating one's libido into work. The flow we musicians try to achieve is like the flow that other kind of player–the mac daddy, the ladies' man, the day-tripper-one-night-stander–goes for. He gets all excited about catching some girl, catches her, gets bored, loses interest, and is almost immediately restless to go catch another. In a ladies' man it's vile. In work it's a key to sustainable enjoyment.
Maintaining flow is really an inventory problem. You've got to be moving new challenges in neither faster nor slower than the thrill is gone from your old challenges. It's about keeping the inventory in proper circulation. If you don't have a new thrill in time, then you get idle moments and your mind wanders into wondering what's amiss.
But if you have new challenges moving in at a rate too fast to keep up with, you can also create lulls. My friend had wanted to write this book over three years ago. She tried to strike while the iron was hot. Before she got too far on it, another exciting project swooped her up and she put the book aside. Now she's come back to the book and the iron's cold.
I find that all books are like that, both in the writing and the reading. Books are perishable fruit–luscious when first acquired, unappealing once they've sat around a while. A book I purchased a month ago but did not read is like a bruised banana. It lies there rejected, mumbling scornfully at me that I don't follow through, that I wait too long. It scolds me for not wanting its old bruised self.
The regular eight-mile runs I take with this friend have generated more than a few of these Mind Readers articles. Producing them is important to the flow I rely upon to keep me out of mischief. I run, we talk, I get runner's high. I get excited about some new idea. But I'd better write it quickly, because I know it's going to become old hat soon and then it will take twice as long to write and come out half as good.
I'm grateful to say that it's been years since I wondered much about my profession. I love what I do, even though–in the grand scheme of things and from the perspective of my early imperative to work on grand issues–it's fairly rinky-dink, what I do.
That doesn't faze me a bit. I like what I do because the throughput is about right. I manage to move stuff to my outbox, and there's new stuff in my inbox. The new stuff is different enough from the old that I stay on the edge of my seat. I worry that my inbox will run dry, but so far it's flowing. It occasionally gushes out of control–I've got some articles half written that are beginning to look like bruised bananas. But I'll get to them and move them along.
It's FIFO–first in first out. When you're excited about some new challenge, that's the time to work on it. Strike while the iron's hot–and as it cools, hope for something else hot to come along.


Julie Cook is the author of Unvaccinated, Homeschooled, and TV-Free: It's Not Just for Fanatics and Zealots. She lives in Howell, Michigan and is homeschooling her daughter using the unschooling method. Julie holds a Bachelor of Science in Accounting, an M.A. in Instructional Design, an M.S.A.


text:
Stages of Intellectual Development in Children & Teenagers
Developmental Issues of Adolescents
Stages of Development Changes From Adolescence Through Adulthood
What Is Existential Anxiety?
What Is Egocentrism in Adults?
U.S. Department of Health and Human Services: MedlinePlus: Adolescent Development
Physical & Cognitive Development of Adolescents
Implications of Physical Changes
Cognitive Development: Abstract Thinking
Implications of Abstract Thinking
The Personal Fable
Written by Scott Barbour
Adolescence is a time of dramatic physical and cognitive development. During the middle school, high school and early college years, individuals develop from children to young adults. Their bodies mature sexually and their minds acquire the ability to engage in increasingly complex thinking, including speculative thought, intense introspection and metacognition--thinking about thought itself. These changes present major challenges and opportunities for adolescents as they develop into young men and women.
Girls enter the major physical changes of adolescence earlier than boys. According to the U.S. Department of Health and Human Services, girls experience a growth spurt between the ages of 9.5 and 14.5, whereas in boys the growth spurt occurs between 10-11 and 16-18 1. Girls can begin to develop breasts as early as age 8 and have fully developed breasts between the ages of 12 and 18. In boys, the testicles and penis may begin to enlarge as early as age 9, and genitals are typically adult-sized by the age of 16 or 17. A girl's menarche, her first period, may begin as early as age 10 or as late as 15, with an average age of onset of 12.5. Wet dreams, which mark the beginning of puberty for boys, begin between the ages of 13 and 17.
The physical changes of adolescence have a dramatic impact on the individual's psychological and social development. As the Department of Health and Human Services notes, adolescents must deal with the embarrassment and awkwardness of disproportionate body parts 1. In addition, they must makes sense of their emerging sexuality, incorporate it into their sense of who they are in the world and begin to engage in intimate relationships.
During adolescence, young people develop the ability to engage in abstract thinking. Jean Piaget, a Swiss developmental psychologist, hypothesized that it is in adolescence that humans achieve the fourth and final stage of cognitive development: formal operational thought. It involves thinking about possibilities as well as comparing reality with things that might or might not be." This development helps to explain why many teenagers become readers of science fiction and fantasy, and develop an interest in the occult.
There are many implications of this major step in cognitive ability. As adolescents develop the ability to compare what is to what could be, they often become critical of their parents and social institutions. They become conscious of political issues and social injustice. Ironically, at the same time, their ability to analyze their own thoughts leads to a highly egocentric worldview. As Craig explains, "Adolescents assume that other people are as fascinated with them as they are with themselves. They may fail to distinguish between their own concerns and those of others." They develop what American child psychologist David Elkind calls an "imaginary audience"--they begin to imagine that others are constantly watching and judging them, which produces a high level of self-consciousness.
During adolescence, young people develop the ability to engage in abstract thinking. The self-absorption of adolescents leads them to develop what Elkind described as a "personal fable." As Craig explains it, the personal fable is "the feeling that they are so special that they should be exempt from the ordinary laws of nature, that nothing bad can happen to them, and they will live forever." As the Department of Health and Human Services points out, this way of thinking may lead teenagers to engage in risky behaviors, such as having unprotected sex, drinking and driving or chewing tobacco. The physical changes of adolescence have a dramatic impact on the individual's psychological and social development.
"Human Development"; Grace J. Craig; 1999
Scott Barbour has been working professionally as an editor and writer since 1993. He has compiled anthologies and written books on a variety of topics for Gale and ReferencePoint Press. Barbour has a Bachelor of Arts in English and a Master of Social Work, both from San Diego State University.

redpajama_set_name: RedPajamaCommonCrawl


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We are looking for distributors to help us developing further in existing markets such as: UK, Italy, Germany, Belgium, Portugal, Poland, Romania, Netherlands*, Spain* and France**. We are also keen on entering new markets both inside and outside Europe. If your country is not on the list send us an email, there might be an opportunity for you!
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Under Manual mode: it is required to press the Power button two times quickly if switching to another device; It is required to press the Power button three times quickly if switching to USB DAC mode.
Note: All Bluetooth codecs are selected by default; After the codec setting is changed, the BTR3 will disconnect and hen reconnect automatically for the changes to take effect.
1. The latest Android version 1.0.4 of FiiO Music app is already available, and you could download it from Google Play Store directly or by this link: click here ; The iOS version FiiO Music app has been submitted to Apple company for review. You could download the new version FiiO Music app from App store once it has been approved.
2. It will be displayed as version 1.0 on new FiiO Music app after upgrading the BTR3 to firmware v1.0(v1030).
3. It is highly suggested to upgrade BTR3 to firmware v1.0 first, if you want to make the BTR3 works with the lastest version FiiO Music app.
Any Idea when EQ support will be coming? Also, will there be an ambient mode where you can hear your surroundings?


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We are here to help you with your pet. Our goal is to provide you with information regarding your animal's condition and the options available for addressing these concerns, so that you can make an informed choice regarding treatment. We take a caring, team approach so that together we help you and your primary clinician take care of your pet.


text:
Juniorvärldsmästerskapet i ishockey 2012, JVM i ishockey 2012, var den 36:e upplagan som arrangerades av International Ice Hockey Federation och var en ishockeyturnering för herrlandslag med spelare födda 1992 eller senare. Huvudturneringen spelades mellan 26 december 2011 och 5 januari 2012.

Sverige erövrade världsmästartiteln för andra gången i JVM-historien, förra svenska vinsten kom 1981. Sverige besegrade regerande mästare i Ryssland med 1-0 i finalen i sudden death. Kanada besegrade Finland i bronsfinalen med 4-0. En negativ överraskning var laget från USA som placerade sig som sjunde lag. Detta var andra gången som USA tvingades spela i nedflyttningsomgången, senast det skedde var 1999.

Mästerskapet avgjordes i sex divisioner som toppdivisionen, Division 1 A och B, Division II A och B, samt Division III. Dessa divisioner spelades enligt följande schema:

Toppdivisionen JVM spelades i  Calgary och Edmonton, Alberta, Kanada, under perioden  26 december 2011 - 5 januari 2012. .JVM Division I grupp A spelades i Garmisch-Partenkirchen, Tyskland, under perioden 11 december till 17 december 2011.
JVM Division I grupp B spelades i Tychy, Polen under perioden 12 december till 18 december 2011.JVM Division II grupp A spelades i Donetsk, Ukraina, under perioden 12 december till 18 december 2011.
JVM Division II grupp B spelades i Tallinn, Estland, under perioden 10 december till 16 december 2011. JVM Division III spelades i Dunedin, Nya Zeeland under perioden 17 januari till 22 januari 2012.

Slutställning
¦¦ Flyttas upp

¦¦ Flyttas ned

Toppdivisionen
Följande lag deltog:
 (uppflyttade från Division I)

 (uppflyttade från Division I)

Inledande omgång

Grupp A
Grupp A spelades i Calgary, Alberta i Scotiabank Saddledome.

Alla tider är lokala (MST/UTC-7)

Grupp B
Grupp B spelades i Edmonton, Alberta i Rexall Place.

Alla tider är lokala(MST/UTC-7)

Nedflyttningsomgång

Alla tider är lokala(MST/UTC-7)

Slutspel

Kvartsfinaler

Semifinaler

Match om femte och sjätte plats

Bronsmatch

Final

Statistik

Medias All Star Team
Målvakt:   Petr Mrázek
Backar:  Brandon Gormley,  Oscar Klefbom
Forwards:  Jevgenij Kuznetsov,  Mikael Granlund,   Max Friberg

Bästa spelare utsedda av direktoratet
Bästa målvakt:  Petr Mrázek
Bästa försvarare:  Brandon Gormley
Bäste forward:  Jevgenij Kuznetsov
Mest värdefulle spelare (MVP):  Jevgenij Kuznetsov

Poängliga

I tabellen nedan redovisas utespelarnas poängresultat, sorterat i första hand på högst antal gjorda poäng, därefter på högst antal mål och i sista hand på minst antal spelade matcher. Spelare med de tio bästa poängresultaten redovisas i tabellen, om flera spelare hamnar på samma antal poäng ska samtliga dessa ingå i statistiken.

Förklaringar: GP: Spelade matcher, G: Antal gjorda mål, A: Antal assist, Pts: Antal gjorda poäng, PIM: Utvisningsminuter

Senast uppdaterat: 6 januari 2012 kl. 14.20 (CET)
Källa: IIHF

Målvaktsliga
Målvakter som spelat minst 40% av lagets totala speltid kommer med i målvaktsligan. Spelarna är rangordnade i första hand efter högsta räddningsprocent (Sv%), i andra hand lägsta antal insläppta mål (GA) och i tredje hand högsta antal spelade minuter (MINS).

Förklaringar: MINS: Spelade minuter, GA: Antal insläppta mål, Sv%: Räddningsprocent, GAA: Antal insläppta mål per match, SO: Antal nollor

Senast uppdaterat: 6 januari 2012 kl. 14.20 (CET)
Källa: IIHF

Medaljörer

Division I
Gruppindelning för Division I i juniorvärldsmästerskapet i ishockey 2012.

Grupp A

Grupp B

Grupp A Tyskland
Grupp A spelades i Olympia Eissportzentrum, Garmisch-Partenkirchen, Tyskland, under perioden 11 december till 17 december 2011,
och vanns av Tyskland som därmed spelar i topp divisionen 2013. Storbritannien spelar i division IB.

Grupp B Tychy, Polen
Grupp B spelades i Winter Stadium, Tychy, Polen under perioden 12 december till 18 december 2011, och vanns av Frankrike som därmed spelar i division IA 2013. Japan spelar i division IIA

Division II

Grupp A
Grupp A spelades i Ice Palace Druzhba, Donetsk, Ukraina, under perioden 12 december till 18 december 2011, och vanns av Ukraina som därmed spelar i division IB 2013. Sydkorea spelar i division IIB

Grupp B
Grupp B spelades i Arena Premia, Tallinn, Estland, under perioden 10 december till 16 december 2011, och vanns av Rumänien som därmed spelar i division IIA 2013. Mexiko spelar i division III

Division III
Division III spelades i Dunedin, Nya Zeeland under perioden 17 januari till 22 januari 2012. Nordkorea drog sig ur turneringen utan att specificera orsaken.
Island vann fyra raka matcher och flyttas upp till Division II grupp B inför Juniorvärldsmästerskapet i ishockey 2013. Turkiet slutade som sista lag och får kvala till JVM 2013.

Noter

Externa länkar

 Matcherna och resultaten i Topp-Divisionen på IIHF:s hemsida
 Resultaten Division I Grupp A på IIHF:s hemsida
 Resultaten Division I Grupp B på IIHF:s hemsida
 Resultaten Division II Grupp A på IIHF:s hemsida
 Resultaten Division II Grupp B på IIHF:s hemsida
 Resultaten Division III på IIHF:s hemsida

2011 i Estland
2011 i Kanada
2011 i Polen
2011 i Tyskland
2011 i Ukraina
2012 i Kanada
2012 i Nya Zeeland
Internationella ishockeytävlingar i Estland
Internationella ishockeytävlingar i Kanada
Internationella ishockeytävlingar i Nya Zeeland
Internationella ishockeytävlingar i Polen
Internationella ishockeytävlingar i Tyskland
Internationella ishockeytävlingar i Ukraina
Ishockeysäsongen 2011/2012
2012
Sportevenemang i Calgary
Sport i Donetsk
Sportevenemang i Edmonton
Sport i Garmisch-Partenkirchen
Sportevenemang i Tallinn
Sport i Dunedin
Tallinn under 2000-talet
Calgary under 2000-talet
Edmonton under 2000-talet

redpajama_set_name: RedPajamaWikipedia


(a) A survey is carried out about red crescents in a school.
It is found that the mean of the number of red crescents is 315, the variance is 126 and the probability that a student participate in red crescents is p.
(i) Find the value of p.
(ii) If 8 students from the school are chosen at random, find the probability that more than 5 students participate in red crescents.
(b) The mass of fertiliser used in an orchard farm is normally distributed with mean 5 kg and variance 0.8 kg. Find the probability that on a particular day, more than 6 kg of fertiliser is used.
(a) 30% of the pens in a box are blue. Charlie picks 4 pens at random. Find the probability that at least one pen picked is not blue.
(b) The mass of papayas harvested from an orchard farm follows a normal distribution with a mean of 2 kg and a standard deviation of h kg. It is given that 15.87% of the papayas have a mass more than 2.5 kg.
(i) Calculate the value of h.
(ii) Given the number of papayas harvested from the orchard farm is 1320, find the number of papayas that have the mass between 1.0 kg and 2.5 kg.
(a) It is found that 60% of the students from a certain class obtained grade A in English in O level trial examination.
(i) exactly 7 students obtained grade A.
(ii) not more than 7 students obtained grade A.
(b) Diagram below shows a standard normal distribution graph representing the volume of soy sauce in bottles produced by a factory.
(ii) the probability that the volume between 930 cm3 and 960 cm3.


text:
NGC 4392 ist eine linsenförmige Galaxie vom Hubble-Typ S0+ im Sternbild Jagdhunde am Nordsternhimmel. Sie ist schätzungsweise 326 Millionen Lichtjahre von der Milchstraße entfernt und hat einen Durchmesser von etwa 65.000 Lichtjahren.
Im selben Himmelsareal befindet sich u. a. die Galaxie NGC 4389.

Das Objekt wurde  am 27. April 1788 von Wilhelm Herschel entdeckt.

Weblinks

 SIMBAD Astronomical Database

Einzelnachweise

Linsenförmige Galaxie


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text:
CO14193 | Why States Fail & How States Recover
Greg Mills
RSIS Commentary is a platform to provide timely and, where appropriate, policy-relevant commentary and analysis of topical and contemporary issues. The authors' views are their own and do not represent the official position of the S. Rajaratnam School of International Studies (RSIS), NTU. These commentaries may be reproduced with prior permission from RSIS and due credit to the author(s) and RSIS. Please email to Editor RSIS Commentary at [email protected].
Somalia and its twin Somaliland are prototypes of states that fail and states that recover. The difference between Somalia and Somaliland is the difference between a peace owned and a rent-seeking peace. Local ownership is but one aspect of the conditions for state recovery.
SOMALIA AND SOMALILAND on the Horn of Africa are prototypes of states that failed and states that recovered. Somaliland declared independence from Somalia on 18 May 1991 after a six-week Grand Conference of the Northern Peoples in Burao. The conferences in Burao and later, Bomora were managed and financed by locals, bringing their own food and shelter over many weeks, sometimes months.
These events were "bottom-up, not top-down", emphasised Mohamed Omar, the minister of commerce, "unlike Somalia's, which has been top-down, driven by donors through leadership and taking place outside the country". Somalilanders concentrated on achieving peace, not on acquiring financial rents for delegates from the process, a feature which has continually by contrast blighted Somalia's attempts to the south, where conflict entrepreneurs have fed off both the fighting and the talking.
State failure; state recovery
While the absence of international recognition might impede the consolidation of its development, Somaliland's home-built steadiness so far exemplifies the limits of external intervention in stabilising countries and the necessity of local ownership. The irony does not end there. The route to reclaiming Somaliland's independence lies through Mogadishu, in getting its southern neighbour to agree to a divorce; but the Mogadishu government is barely functional, little more than a Western-supported and African-military controlled client state.
The difference between Somaliland and Somalia is the difference between a peace owned and a rent-seeking peace. A lack of aid has meant that Somalilanders have had to find their own way, and the lack of external involvement has left local structures in place. It is a prototype for making peace elsewhere, the lesson for outsiders being: Less is often more. Foreigners cannot after all want peace more than the locals.
This is a first of several lessons in understanding why states recover and the role of outsiders in this process. State failure, of course, is not just about Somali-style collapse. The strains of fragility – of governance, economics, politics and society – intersect and play out differently in different circumstances. While many states are fragile, there is a group at one extreme that threatens to explode or implode, and is as a result prioritised by external actors.
At the other extreme, there are authoritarian democrats; states that might work for now, but whose lack of democratic governance threatens to undermine both their standards of governance and prospects of long-term growth.
There is no single reason or a tipping point at which a state becomes officially 'failed', an imaginary dividing line between success or normality and failure. This explains the difficulty in defining such states, and especially in categorising them. Hence terminology including failed, fragile, weak, collapsed, vulnerable, moribund, straggling, struggling, crisis, quasi-failed, 'non-state', broken, invisible, insufficient, stillborn, phantom, or even 'Potemkin' states. But these situations should be viewed on a spectrum or continuum rather than a balance sheet of failure.
Countries that work for some, at least for the relatively well-heeled visitor, can work against the locals. There are those that significantly and continuously under-perform, lurching from crisis to crisis, a roller coaster of political and economic collapse, but do not explode into violence and become the focus of international aid groups, one external metric of failure.
Getting it right depends on answering why the international community so often gets it wrong in managing transitions, from war to peace, and from poverty to prosperity. Even so, the difference between state recovery and failure involves more than the efficacy of external actors, no matter the attempts to plan and resource a coherent strategy, to achieve better coordination, staffing, commu¬nication, and to establish clear pillars, goals, objectives, systems of accountability, and clear priorities.
The drivers of state success include legitimacy, not just stability; soft systemic not just hard physical infrastructure; and the emergence of issue- rather than identity-led political and economic choices, where narrow self-interest is subsumed by national concerns. Transforming states is about the politics, and the political economy, and living with local solutions, however messy they appear.
Security is imperative: indeed, it is the door through which much else follows, including better governance and development. You can't fix instability without fixing, first, security. To do that effective armed forces are required, including the police.
Thinking things through to the finish, by locals and outsiders, is also imperative.
Cost of failure
Countries are quick to respond to emergency situations, or to engage militarily, driven often by their own domestic political considerations. But few have the staying power, as is evidenced by Iraq, whatever the strategic folly in getting involved in the first instance.
The costs of failure and the potential rewards of recovery are enormous. Today the bulk of the world's poor – totalling 1.1 billion of the planet's seven billion people – live in failed or failing states. Not only is their lack of development and progress a missed opportunity for all, but their problems are unlikely to remain at home in a world increasingly connected by the flows of people, capital, goods, technology, information and news.
History teaches however that the period of recovery for states from failure is at least as long as the period of decline. The term 'buy and hold' is synonymous with taking a long-term view; not aiming to enter low and sell high, but rather to build a business over generations.
This approach discourages speculative investment and promotes the practice of holding onto shares for years in the belief that the stock is undervalued, and that sound management and patience will not only add value for the investor, but create wealth and jobs in the process.
Buy and hold is also the strategy necessary to fix states. Local leaders need to adopt this approach, investing in the future of their countries, and not simply using their power to extract personal wealth.
Greg Mills heads the Johannesburg-based Brenthurst Foundation and is currently a Visiting Senior Fellow at the S. Rajaratnam School of International Studies (RSIS), Nanyang Technological University. His latest book – 'Why States Recover' (Picador/Hurst) – based on his assignments in three dozen case-studies across the world, is being launched at RSIS this month.
Categories: Commentaries / Conflict and Stability / Country and Region Studies / Non-Traditional Security / Africa / Global
Categories: Commentaries / Conflict and Stability / Country and Region Studies / Non-Traditional Security
Somalia and its twin Somaliland are prototypes of states that fail and states that recover. The difference between Somalia and Somaliland is the differ ...


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Posts Tagged 'Erinyes'
Posted in Mitología, Psicología, Varios, tagged Aeschylus' "Oresteia", Allecto, Allegory of the Chariot, Aphrodite, Apollo, Artemis, Carl Jung, Charites or Three Graces, Erinyes, Graffiti Lux and Murals, Greek Mythology, Helios, Hermes, Hermes or Mercury, Hermes Trismegistus, Major Arcana, Megaera, Minor Arcana, Nine of Swords, Odin, Persephone, Plato, Plato's "Phaedrus", Resa McConaghy, Selene, Tarot, Tarot: Reversed Cards, Tarot: Suits, The Chariot, The High Priestess, The Magician, Theory of Forms, Thoth, Three of Cups, Tisiphone, Zeus on 04/26/2018| 300 Comments »
► "Tarot and Archetypes" /
"Collaboration with Resa McConaghy" 💢:
"We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time".-
(T. S. Eliot. "Four Quartets": Little Gidding).
This is the third post of a series on Tarot (See these two previous posts: Tarot: "Most Relevant Generalities / Major Arcana" and Tarot: "Minor Arcana").
The following post was written in collaboration with my friend Resa McConaghy, from Graffiti Lux and Murals and Art Gowns. (See brief bio below).
Here, we´ll analyze how certain cards from both Major and Minor Arcana are "archetypes", and could therefore be related to Greek Mythology. Our pivotal benchmark, as expected, will be the Rider-Waite tarot deck.
We´ll then see how examples of Street Art (Murals and Graffiti) could have equivalents in certain Tarot Cards. We could say that such Symbolic images appear once and over again as expressions of a common collective unconscious. We´ll talk further about this.
We´ll finally dig further into the Major Arcana and the so-called "Journey of The Fool", which is a graphic expression of Joseph Campbell´s Hero´s Journey, as it appears in his book "The Hero with a Thousand Faces".
Although there is not such scheme in the Minor Arcana, we can also find certain schemes, involving recurrent narrative sequences. These archetypical patterns provide Minor Arcana with a sort of recurrent cyclic structure, as it happens with the "Journey of the Fool".
►About Resa McConaghy:
Resa is a canadian artist, costume designer and author.
She hosts two blogs: Graffiti Lux and Murals and Art Gowns.
You can find her version of this post here. Furthermore, Resa has written a book, "Nine Black Lives", available on Amazon. Find Resa on Twitter, too!.
(Disclaimer: All murals photographs were taken by Resa and/or featured on her blog Graffiti Lux and Murals. © Resa McConaghy. 2018).
Check out Resa´s Blogs: •Art Gowns: http://artgowns.com/ •Graffiti Lux and Murals: http://graffitiluxandmurals.com/
I. ►Tarot and Greek Mythology:
A. ►Major Arcana: The Magician:
The Magician is associated with the planet, Mercury and carries with it skill, logic, and intellect. The number of the Magician is one (1), the number of beginnings. The Magician is a psychopomp, a bridge between worlds: the World of the Living and the Underworld, a guide of souls.
In the Marseille French deck this character is called Le Bateleur, "the mountebank" and he is a practitioner of stage magic.
In the Marseille deck, the table has a square top and three legs. This is because the card represents, among many things, the Great Pyramid of Giza, in Egypt. The Pyramid has sides of three and a base of four. The Magician's table has three legs and square top. The letter associated with the card is "B," known in Hebrew as Beth. This term means "house" and connotes the "House of God." In Egypt, the Pyramid was considered the House of God.
Infinity symbol.
The curves of the magician's hat brim in the Marseilles image are similar to the esoteric deck's mathematical sign of infinity (as we see in the Rider Waite deck).
In the Rider Waite deck, this symbol also appears in the Strenght card, as well.
Similarly, other symbols were added in the Rider Waite deck. The essentials are that the magician has set up a temporary table outdoors, to display items that represent the suits of the Minor Arcana: Cups, Coins, Swords. As to the fourth, the Wand, he holds it in his hands. These four suits represent the four elements. Water, Earth, Air and Fire, respectively.
The Magician. Table (Left: Rider Waite. Right: Marseille).
In the Magician's right hand is a wand raised toward heaven, the sky or the element æther, while his left hand is pointing to the earth. This iconographic gesture has multiple meanings, but is endemic to the Mysteries and symbolizes divine immanence, the ability of the magician to bridge the gap between heaven and earth. The Magician's robe is white, symbolising the purity and innocence found in the Fool but his cloak is red, representing worldly experience and knowledge. He is surrounded by flowers, symbol of fertility and possibilities.
This card entails feeling centered and committed and being creative. Reversed, the Magician can indicate greed, deceit, manipulation and using one's skill for negative ends. It can reflect trickery and cunning and mental confusion. Plus, the Magician reversed often suggests that you may be out of touch with reality and struggling to bring yourself back down to earth.
The Magician reminds us of Hermes, the Messenger of Gods. Hermes had several attributes and represented many things. Hermes was the Olympian god of herds and flocks, travellers and hospitality, roads and trade, thievery and cunning, heralds and diplomacy, astronomy and astrology. Besides, he was the herald and personal messenger of Zeus. He was also a god of science and wisdom, art, speech, eloquence. And, most importantly: "the God of Writing".
Hermes´ equivalents were: In Roman Mythology: Mercury. In Norse Mythology, Odin and for the Egyptians, Thoth (also known as Theuth). Hermes Trismegistus could be a representation of the syncretic combination of the Greek god Hermes and the Egyptian god Thoth. Hermes, the Greek god of interpretive communication, was combined with Thoth, the Egyptian god of wisdom, to become the patron of astrology and alchemy. In addition, both gods were psychopomps, who guided Souls into the Afterlife.
Statue of Hermes/Mercury. Roman copy. 200 AD.
Hermes Trismegistus, floor mosaic in the Cathedral of Siena. 1480s.
•~~~•~~~ •~~~•~~~•~~~•~~~•
B. ►Major Arcana: The High Priestess:
In the 18th century Marseilles Tarot, this figure is crowned with the Papal tiara and labelled La Papesse, the Popess, a possible reference to the legend of Pope Joan.
In the creation of the Rider-Waite tarot deck this card changed into The High Priestess, who appears sitting between the pillars of Boaz and Jachin (which has a particular meaning to Freemasonry).
Other variants that came after Rider-Waite are the Virgin Mary, Isis, the metaphorical Bride of Christ or Holy Mother Church.
In the The Rider Waite deck, the High Priestess is majorly associated with Persephone, Isis, and Artemis (previously: Selene).
Selene is the Greek Goddess of the Moon. She is the daughter of the Titans Hyperion and Theia. Besides, Selene is sister of the Sun-God Helios, and Eos, Goddess of the Dawn. In classical times, Selene was often identified with the Goddess of Hunting, Artemis, much as her brother (Helios), was identified with Apollo.
"Proserpine / Persephone" (three-quarter portrait holding a pomegranate), by Dante Gabriel Rossetti (1874).-
"Diana" (AKA Artemis/Selene) by Joseph Duch (19th Century).
In the Rider Waite deck, the High Priestess sits at the gate before the great Mystery, as indicated by the Tree of Life in the background. She sits between the darkness and the light, represented by the pillars of Solomon's temple, which suggests it is she who is the mediator of the passage into the depth of reality. The tapestry hung between the pillars keeps the casual onlookers out and allows only those initiated to enter.
The pomegranates on the tapestry are sacred to Persephone. They are a symbol of duty (because Persephone ate a pomegranate seed in the underworld which forced her to return every year).
The blue robe the Priestess is wearing is a symbol of knowledge.
She is also wearing a crown, symbolising the Triple Goddess.
The phases of the moon (Triple Goddess Moon).
The High Priestess is associated with the Moon. Like The High Priestess, the Moon is also feminine so it symbolises fertility, hormonal influences and the mysterious side of femininity.
As mentioned above, Selene and Artemis were Greek Goddesses related to the Moon as well.
The solar cross on her breast is a symbol of balance between male and female.
In her lap, she holds the half-revealed and half-concealed Torah, representative of the esoteric teachings and higher knowledge. The moon under her left foot shows her dominion over pure intuition. The palm indicates fertility of the mind and the cube on which she sits is the earth. The planet associated with the High Priestess is the Moon.
High Priestess. Rider Waite deck. Details: Pomegranate and Moon.
The High Priestess could also be identified with the Shekhinah, the female indwelling presence of the divine. She wears plain blue robes and sits with her hands in her lap.
She has a lunar crescent at her feet, a horned diadem on her head, with a globe in the middle place, similar to the crown of the ancient Egyptian goddess Hathor.
The scroll in her hands, partly covered by her mantle, bears the letters TORA (meaning "divine law", for the jewish tradition). The High Priestess conceals the last letter, "H", beneath her cloak. The Torah contains Jewish laws in the form of the five books of Moses. Great spiritual knowledge and wisdom is to be found within the Torah. The fact that part of the name is hidden indicates mystery and concealment.
The High Priestess is a card of mystery, stillness and passivity. This is not a time for action of moving forward. Instead The High Priestess suggests that at present you should retreat from your situation. When The High Priestess shows up Reversed, it suggests inability to find your inner voice or to look beyond.
C. ►Major Arcana: The Chariot:
In the Rider Waite version, there is a chariot standing in the middle and two sphinxes are at the bottom, on both sides.
The sphinxes´colors are reversed, pretty much like a Yin-Yang symbol. (See image 3).
The sphinxes highlight the idea of standing still. The man doesn´t move forward. And yet, there is a probable good outcome.
The sky is yellow representing hopes and prospect.
The stars on the curtain and the Sun in his forehead also stands for hope and trust. He seems to follow his own intuition and light… His own star. (See image 1, above).
The latter is a recurrent symbol in the tarot deck, as we can see in the Hermit card (See image 1, below) and the Star card (See image 2).
This card represents power, and also it emphasizes the importance of balance within oneself.
The driver has a Sun on his head. We can see rising and falling moons close to his neck.
The complementary nature of these two opposite forces tend to echo the sphinxes … pointing out to Balance.
The little red top below the wings ad in the middle of the chariot represents Lingam and Yoni, which entails the connection of two extremes (the "Golden mean").
The card represents Victory, reaching goals. It entails self-control, balance and discipline. If the card is reversed, it means lack of determination or focus, low self-esteem, defeat or confusion.
This card can be related to Plato´s allegory of the Chariot, as it appears in his dialogue "Phaedrus".
As he tries to explain the tripartite nature of the Soul, Plato uses an allegory.
He says that a chariot (representing the Soul) is pulled by two-winged horses, one black and mortal; and the other white and immortal.
The black mortal horse is obstinate and wild. The immortal, white horse, on the other hand, is noble, and a lover of honor and modesty and temperance.
In the driver's seat is the charioteer. His destination is the ridge of heaven, beyond which he may behold the Forms, the absolute Knowledge. This is a very turbulent ride, as the horses are led by opposite forces. The rider needs to keep the horse in balance. He represents the rational part of the Soul. The Black horse represents man's appetites, meaning the part of the Soul linked with instincts. The white horse represents man's spirit, the spirited part of the soul which seeks honor and victory.
This allegory highlights the importance of balance, integration and self-control. The two horses and the charioteer totally echo the characters on the Chariot card. Instead of horses, there are sphinxes, though. But the general meaning is strikingly similar.
The Chariot card also remind us of Helios (later on Apollo), the God and personification of the Sun in Greek mythology. Helios was portrayed as a mighty charioteer, driving his flaming chariot (or gleaming horses) from east to west across the sky each day.
"Helios on His Chariot" (Detail) by Hans Adam Weissenkircher (Laufen, Germany 1646-1695 Graz, Austria).
D. ►Minor Arcana: Three of Cups:
The Three of Cups is a card of celebration and accomplishment. Three young maidens dance in a circle with their golden goblets upraised in a toast of joy. Their arms reach out to each other and they connect through their emotions and their friendship with one another. The ground is covered with fruit and there is a general sense of abundance and happiness. Each woman in the Three of Cups has a laurel wreath on her head. Wreaths of this type have long been a symbol of victory and success.
At the women's feet lie various flowers, symbolising joy, beauty.
The Three of Cups represents celebration, festivity and socializing. More broadly, the Three of Cups indicates the end or conclusion of any problems you have been experiencing, particularly those that relate to your interactions with others.
When the Three of Cups reverses it can suggest lack of emotional growth, losing touch with friends, over-indulgence, and gossiping.
This card seems to epitomize the Ancient Greek Charites (also known as "Three Graces").
The Charites were reputed to be the essence of beauty, charm and grace. They were associated with the Nine Muses, who presided and inspired arts and sciences.
The Charites were three goddesses, who were sisters between them. From youngest to oldest: Aglaea ("Splendor"), Euphrosyne ("Mirth"), and Thalia ("Good Cheer"). Frequently, the Graces were taken as goddesses of charm or beauty in general and hence were associated with Aphrodite, the goddess of love.
"Primavera" by Sandro Botticelli (1482). Detail on the left: The Three Graces.
Fresco from Pompeii, House of Titus Dentatus Panthera, ca 65 -79 AD; Museo Archeologico Nazionale di Napoli – Three Graces
E. ►Minor Arcana: Nine of Swords:
The Nine of Swords shows a woman with her head in her hands, sitting up in her bed. She appears to have just woken up from a bad nightmare, and is obviously upset, fearful and anxious following her dream.
Nine swords hang on the wall behind her. The base of the bed is decorated with a carving of a duel in which one person is being defeated by another. All those Swords are weighing heavily on her as she sits in bed. These are all the Swords she has accumulated on her journey. The Figure in the Nine looks in despair and bereft of any logical thinking. She is in a terrible state of sorrow and feels she cannot share her problems or express them properly.
The Nine of Swords is the card of fear and nightmares. However, the troubles alluded to in the Nine of Swords are primarily of a psychological nature and do not necessarily indicate suffering in your external reality. That is, it is what is inside your mind that is creating the fear and anxiety. The dreadful worry associated with the Nine of Swords may also come guilt, shame or your conscience eating you up. On the other hand, it may be you who is the victim.
Reversed, the Nine of Swords indicates that you are working yourself up and becoming incredibly stressed and anxious when, really, this does not have to be a complicated issue. It is also possible that you have already worked through this period of worry and depression and are beginning to make a recovery.
The Nine of Swords somehow reminds us of the Erinyes (or Furies). According to the Greek poet Hesiod, they were the daughters of Gaia (Earth) and sprang from the blood of her mutilated spouse Uranus.
The Erinyes were mainly goddesses of vengeance. They could be either the angry goddesses, or the goddesses who hunt up or search after the criminal. Hence they were associated with punishments, mainly in the shape of remorse, shame, regret, sorrow and guilty feelings. The wrath of the Erinyes could lead to disease, illness and dearth. This is mostly what happens in Aeschylus' "Oresteia". Euripides was the first to speak of them as three in number. Later authors named them Allecto ("Unceasing in Anger"), Tisiphone ("Avenger of Murder"), and Megaera ("Jealous"). They were depicted as ugly, winged women with hair, arms and waists entwined with serpents.
"Orestes and the Erynies" by Gustave Moreau (1891).
"Orestes Pursued by the Furies" by William-Adolphe Bouguereau (1861).
II. ►Tarot and Graffiti:
According to Carl Jung, myth making is an inherent part of the unconscious psyche. Myths typically have a number of rituals associated with it and secondary elaborations and expressions. Art is an example.
How about Street Art?. Well… Street art is usually created as a means to convey a message connected to artistic, political and social ideas. In any case, Street Art could reveal and express archetypes.
Archetypes consist of the mental representations of certain motifs that may vary a great deal in detail without losing their basic pattern. These archetypes manifest themselves in the form of symbolic images that appear throughout the world as expressions of a common collective unconscious.
Tarot embodies archetypes behind which lie similar archetypical meanings. And the same applies to certain graffiti or murals. So let´s see how Tarot and Street Art get juxtaposed in an artistic way.
Resa McConaghy presents us some murals from her great blog "Graffiti Lux and Murals", illustrating the theme of the Tarot. Let´s take a look…
Mural: Goat. ©Resa McConaghy.
Meeting the Shadow Self: XV: The Devil.
Murals: Fierce and tender lions. ©Resa McConaghy. 2017)
Mural: Skull/Death. ©Resa McConaghy.
Dark Night of the Soul: XIII: Death.
Mural. Charioteer and Chariot. ©Resa McConaghy.
Test and Trials: VII: The Chariot.
Mural: Woman and Water. ©Resa McConaghy.
Minor Arcana: Queen of Cups.
►III. The Journey of The Fool in The Major Arcana:
Joseph Campbell explores the theory that important myths from around the world which have survived for thousands of years all share a fundamental structure which he calls the Monomyth.
In laying out the Monomyth, Campbell describes a number of stages along this journey.
The hero starts in the Ordinary World and receives a call to enter an unusual world. The hero ventures forth from a familiar world into strange and sometimes threatening lands.
If the hero accepts the call, he might have to face tasks and trials, alone or he could have assistance.
At its most intense, the hero must survive a severe challenge, often with the help earned along the journey. They may achieve a great gift or Boon which most times results in the discovery of self-knowledge.
The hero must then decide whether to return with this boon, often facing challenges on the return journey as well. If he is succesful in returning the ordinary world these gifts may be used to improve the world.
Campbell proposed we view this as symbolic of the individual's departure from their conscious personality, into the unexplored regions of their unconscious in search of the "ultimate boon", the unrealized potentials hidden within.
Campbell´s scheme echoes the Journey of the Fool, as displayed in The Major Arcana.
People interpret the Journey of the Fool in various ways. It represents the process of the life cycle (childhood to middle age to old age). More often it is used to illustrate the process of spiritual development of the individual.
Following the Major Arcana´s cards and stages, people begin in a state of innocent ignorance represented by the Fool (card 0), as he begins the journey, and pass into a final state of enlightenment reflected by the World (card XXI). After the World (perhaps paradoxically, maybe logically), comes the Fool again, as in many versions one is thought to be beginning the journey again, simply at another stage of knowledge.
Well get into the stages of the Hero´s Journey, as proposed by Joseph Campbell in his book "The Hero with a Thousand Faces". And, simultaneously, we´ll present certain different Major Arcana cards exemplifying the particular phases of the journey. (Note that not all the stages are covered. But most of them, are).
Joseph Campbell´s Journey of the Hero.
References Jouney of the Hero/Journey of the Fool (Major Arcana):
Call to Adventure: The Fool.
Meeting the Mentor: The Hierophant.
Test and Trials: The Chariot.
Approaching the Innermost Cave: The Hermit.
Meeting the Shadow Self: The Devil.
Ordeal: The Tower.
Boon: The Star.
Refusal to Return to the Ordinary World: The Moon.
Dark Night of the Soul: Death.
Resurrection: Judgement.
Third Threshold: The Hanged Man.
Mastery of the Two Worlds: The World.
Call to Adventure: 0: The Fool.
Meeting the Mentor: V: The Hierophant.
Approaching the Innermost Cave: IX: The Hermit.
Ordeal: XVI: The Tower.
Boon: XVI: The Star.
Refusal to Return to the Ordinary World: XVIII: The Moon.
Third Threshold: XII: The Hanged Man.
Mastery of the Two Worlds: XXI: The World.
►IV. Is there a "Journey" in the Minor Arcana?.
How does archetypal interactions might work in Minor Arcana?:
The Minor Arcana does not typically have an overall story or narrative to connect them that is specific to the Tarot alone.
However, one thing we can notice is that Minor Arcana cards also follow a "narrative progression".
And that this seems to apply to all suits. We´ll provide examples. In order to methodize this, we´ll bring up a book that Colleen Chesebro kindly provided to us. The book in question is "The Writer and the Hero´s Journey", by Rob Parnell.
In page 43, the author says:
"When telling a story, your overriding concern is to provide a platform from which you can derive conflict. Conflict is drama is story. But in order for drama to be compelling, you must create believable characters first". He then states that the best way to create good characters is "by providing scenarios in which your characters are tested and can interact convincingly with other characters".
We´ll use Parnell´s tips to demarcate certain progressions in certain implicit narrative sequences. These interactions could be subtle, but they are arranged in a systematic way, as stages. Hence they provide Minor Arcana with a coherent and recurrent cyclic structure in the form of implicit narrative sequence. Pretty much like the Journey of the Fool in Major Arcana.
Parnell mentions the following "archetypal characters" (not necessarily people, they could be ideas, institutions, etc) who often interact with the main character:
The Hero's Sidekick, sometimes called "the Reflection" because they represent the hero' s inner self as he was before the challenge.
The Hero's Nemesis: A bad person, sometimes a situation or an institution the character is fighting against.
The Hero's Love Interest, (not always necessary to a story though).
The Hero's Mentor: The person who the character/"Hero" goes to for advice or guidance.
Here are some examples of archetypal correspondences:
1 Sidekick: The Five of Wands, considered from the Ten of Cups. The latter represents Harmony and alignment; while the Five Of Wands represents disagreement, tension, conflict.
2. Nemesis: The Three of Swords, considered from the perspective of the character included in the Nine of Swords. The first card represents heartbreak ad rejection; whilst the Nine of Swords depicts someone who is depressed or concerned about certain things. We could say he is somehow fighting against the ideas the Three of Swords represents.
3. Love Interest: Clearly this card: The Two of Cups. Representing: Love and partnership, and considered from any other card ("character").
4. Mentor: King of Swords and Queen of Cups. Plus King and Queen of Pentacles seem to be characters that could well fulfill this role. King of Swords provides organization and quick thinking. Queen of Cups, emotional safety, calm and compassion. King and Queen of Pentacles represent discipline; and nourishing security, respectively.
Symbolic images have appeared throughout time, and all over the world. Whether they be myths, motifs, images in dreams or ritual, they are all manifestations of the unconscious psyche.
These symbols vary in detail, but like the many different decks of Tarot cards, meanings remain the same. They are archetypal.
These archetypes are experienced by all. The "collective unconscious", as proposed by Jung in his theories relating to psychology and myth, shares an innate psychic language.
A.E. Waite had put it in different words, but in the end aligns with the thought that "secret doctrine" is interred in "the consciousness of all". We may expose our intellect to many creative ideas and philosophical practices, as life and time relentlessly progresses. Not just our bodies mature, but our ideas, ideologies, purpose and direction are called to conscience. This is referred to by some as "Rites of Passage".
In Tarot, the Major Arcana, presents"Rites of Passage" through the "Fool's Journey". Wisely, it presents not just a path of life, but cycles of life. The Minor Arcana purposes cycles of daily life, and therein, leads us to the larger picture.
Guided by Astrology, Numerology, I Ching (or Book of Changes), Kabbala, Chinese Zodiac and/ or other related mystic arts, we proceed through the stages of life with an ability to live filled with comprehension through creativity. Be it intellectual and/or physical, this creativity includes all arts and sciences including alchemy.
With understanding of the archetypes and symbols representing them, we progress inventively. We become original. Therefore we can aid ourselves in the understanding of our unique path/ cycle through the physical sphere. It also assists in expressing to others, should one be a reader of Tarot, interpreter of Astrological charts, a giver of guidance via numerology religion or portrayal of relevance via mythology, a deeper meaning.
Tarot is special in that it combines most of the archetypes gone before it. Tarot uses its own imagery that contains symbols and ideology from numerology, astrology, religion, history and more. Thereby, Tarot is a powerful guiding force.
Whichever deck of Tarot one chooses to read from, it was illustrated and painted by an artist. Art has depicted Mankind spiritually, intellectually and physically from cave drawings through to Graffiti art. Artists have executed their thoughts, visions and ideas with paint, clay, writing, music, dance, myth and more.
Mythology, Greek or Roman and otherwise, has guided man with culturally relevant imagined tales. Greek myths contain many archetypal characters that are reflected in the Tarot: such as: the hero's sidekick (The Fool), the hero's nemesis (The Devil), love interest (The Lovers) and mentor (The Hierophant).
These stories provide a metaphor to individuals' personal lives involving political and ethical ideals, thereby yielding emotional reactions. Mythology, as many legends, has been represented in many art forms from: sculpture, paintings and drawings, to dance, costumes and music.
In these modern times, even tattoos express the archetypes of "the collective unconscious".
Pythagoras, a Greek mathematician who created the theorem for right-angled triangles, was also a philosopher. His creative mind was not relegated to mathematics, and he created the Pythagorean Tarot. His creativity was deeply rooted in the art of imagery through mythology and ancient Greek Mysteries. His was a pre-christian world, and his Tarot reflects that. Nonetheless, it is filled with many archetypes of his time's philosophies. These archetypes prevail today.
In conclusion: All of the arts and archetypes are in the Tarot. The Tarot, through "the consciousness of all" is in all of the arts and archetypes.
A few cards from The Rider- Waite Tarot deck.
⇒Links Post:
http://www.michaeltsarion.com/inner-zodiac.html
https://www.youtube.com/watch?v=qpV40oP8QEI
http://www.aeclectic.net/tarot/cards/pythagorean/
https://www.chabad.org/library/article_cdo/aid/361902/jewish/The-Four-Worlds.htm
https://soa.illinoisstate.edu/downloads/anthro_theses/caldwell_sara.pdfh
https://es.scribd.com/document/311979264/Rob-Parnell-The-Writer-and-the-Hero-s-Journey
https://teachmetarot.com/part-iii-major-arcana/lesson-2/the-high-priestess-ii-upright/
https://teachmetarot.com/part-1-minor-arcana/lesson-2/the-collective-unconscious-archetypes-and-symbols/
►Greek Mythology: "The Harpies, Winged Bird Monsters".-
Posted in Arte, Mitología, tagged Aello, Aeschylus's "Oresteia", Argonauts, Boreads, Celaeno, Dante's "Divina Commedia", Erinyes, Hades, Hesiod's "Theogony", Iris, Jason, King Phineus of Trace, Oceanid Electra, Ocypete, Ovid´s "Metamorphoses", Podarge, Shakespeare, Thaumas, Virgil's Argonautica, William Blake, Zeus on 12/11/2014| 252 Comments »
►Greek Mythology: "The Harpies, Winged Bird Monsters":
"Aeneas and his Companions Fighting the Harpies" by François Perrier (17th century).
In Greek Mythology, a harpy was a female monster in the form of a bird with a human face.
They were the spirits of sudden, sharp gusts of wind.
They were known as the hounds of Zeus and were sent by him to snatch away people and things from the earth.
The harpies were also they were agents of punishment who abducted people and tortured them on their way to Hades' domains. Like the Erinyes, the harpies were employed by the gods as instruments for the punishment of the guilty.
They seem originally to have been wind spirits. Their name means "snatchers".
Aeschylus in The "Eumenides" (Third part of "The Oresteia") referred to them as ugly winged bird-women.
Later Greeks transformed Harpies into Sirens, which can be seen in depictions of Odysseus on his long trip home from Troy.
But before that, Hesiod in "Theogony" called them "two lovely-haired" creatures. He said that the harpies were winged maidens, who surpassed winds and birds in the rapidity of their flight. He also mentioned that they were the daughters of Thaumas by the Oceanid Electra. Hesiod's two Harpies were named Aello (storm swift) and Ocypete (The swift wing).
Virgil in ("The Aeneid" 3.209) added a third one, Celaeno (the dark).
According to Virgil, Aeneas encountered harpies, as they repeatedly made off with the feast the Trojans were setting. The harpies also cursed them, saying the Trojans will be so hungry they will have eaten their own tables before reaching the end of their journey to Italy.
On the other hand, Homer ("The Iliad" 16.148) made reference to only to one harpy, named Podarge ("fleet-foot"). She was married to wind Zephyrus, and gave birth to the two horses of Achilles.
According to roman poet Ovid, ("Metamorphoses". Book XIII), Zeus punished King Phineus of Trace because he had the gift of prophecy and once gave away the gods' secret plan. The King of the Gods blinded King Phineus and put him on an island, and whenever a meal was placed before him, they darted down from the air and carried it off; later writers added, that they either devoured the food themselves, or that they dirtied it by dropping upon it some stinking substance, so as to render it unfit to be eaten.
According to Virgil ("Argonautica". Book II) when Jason and the Argonauts came to visit, the winged Boreads gave chase, and pursued the Harpies to the Strophades Islands, where the goddess Iris, the personfication of the rainbow and messenger of the gods, commanded them to turn back and leave the storm-spirits unharmed.
"Landscape with the Expulsion of the Harpies" by Paolo Fiammingo (1590).
►Further Features:
•In Dante's "Divina Commedia" (Inferno XIII) the harpies tortured the sinners, who had their punishment in the seventh ring of Hell.
•Later on, William Blake found inspired in Dante's description in his pencil, ink and watercolour "The Wood of the Self-Murderers: The Harpies and the Suicides" (1824 /1827. Tate Gallery, London).
•In Shakespeare's "Much Ado about nothing", Benedick spots the sharp-tongued Beatrice approaching and exclaims to the Prince Don Pedro that he would do an assortment of arduous tasks for him "rather than hold three words conference with this harpy". Here, the term "harpy" is used metaphorically to refer to a nasty or annoying woman.
•During the Middle Ages, the harpy, often called the Jungfrauenadler or "virgin eagle", became a popular charge in Heraldy, particulalrly in Nuremberg, Rietburg and Liechtenstein.
►William Blake's painting "The Wood of the Self-Murderers: The Harpies and the Suicides", inspired by Dante's "Divina Commedia":
"The Wood of the Self-Murderers: The Harpies and the Suicides" by William Blake (1824/1827).
•Description: Dante encounters the souls of those who have committed suicide and been transformed into trees as punishment for having relinquished their bodies. According to Lavater the tree has no physiognomy, so the figures are also stripped of any individuality. Harpies, mythological birds with the heads of women, feed upon them.
Blake gives his Harpies beaks rather than noses, thereby emphasising their bestiality. The squat shape of the Harpies and their large feet are reminiscent of owls, birds described by Lavater as particularly 'stupid' (contrary to modern associations of the bird with wisdom).
"Here the repellent harpies make their nests,
Who drove the Trojans from the Strophades
With dire announcements of the coming woe.
They have broad wings, with razor sharp talons and a human neck and face,
Clawed feet and swollen, feathered bellies; they caw
Their lamentations in the eerie trees"
(Dante's "Divina Commedia"
(Inferno XIII, Seventh ring of Hell).-
►Gallery: "The Harpies":
"Harpies". Engraving from Terme di Diocleziano, Rome. (4th century).
"Acht tanzende Frauen in Vogelkörpern" by Hans Thoma (1886).
"Harpies stealing the food of King Phineus". Athenian red figure hydria (5th century B.C).
"Gamayun: The Prophet Bird" by Viktor Vasnetsov (1897).
"The Harpy tomb". Harpy carrying a baby. (470 BC). The British Museum.
"Harpies and Witches" by by Vincenzo Cartari (16th century).
"Harpy" by Edvard Munch (1894).
Aeneas and his Companions Combat the Harpies, plate 10 of L'Enea Vagante Pitture dei Caracci from of a set of twenty prints after the paintings by Agostino Carracci (16th century).
Links Post:
http://www.theoi.com/Pontios/Harpyiai.html
http://en.wikipedia.org/wiki/Harpy
http://www.theoi.com/Pontios/Iris.html
http://patagoniamonsters.blogspot.ca/2010/04/chilean-harpy.html
http://it.wikipedia.org/wiki/Terme_di_Diocleziano
http://www.sparknotes.com/lit/aeneid/section3.rhtml
http://www.tate.org.uk/art/artworks/blake-the-wood-of-the-self-murderers-the-harpies-and-the-suicides-n03356
Greek Mythology: "Nemesis, the Goddess of Revenge".-
Posted in Arte, Mitología, tagged Adrasteia, Aphrodite, Ate, Castor and Pollux, Clytemnestra, Erinyes, Fortuna, Helen, Hermes, Hesiod's "Theogony", Nemeseia, Nemesis, Nyx, Rhamnusia, Tyche, Zeus on 12/04/2014| 261 Comments »
►Greek Mythology: "Nemesis, the Goddess of Revenge":
"Justice and Divine Vengeance Pursuing Crime" by Pierre-Paul Prud'hon. (1808).
Nemesis (In Greek νέμειν némein, meaning "to give what is due" was the spirit of divine retribution against those who succumb to Hubris (arrogance before the gods).
She was also known as Rhamnusia. Another name for her was Adrasteia, meaning "the inescapable."
Nemesis directed human affairs in such a way as to maintain equilibrium.
Her name means she who distributes or deals out.
She was related to the ideas of righteous anger, due enactment, or devine vengence.
The Greeks personified vengeful fate as a remorseless goddess: the goddess of revenge and righteous indignation.
Happiness and unhappiness were measured out by her, care being taken that happiness was not too frequent or too excessive.
Nemesis has been described as the daughter of Zeus.
But, according to Hesiod, she was a child of Erebus and Nyx. She has also been considered the daughter of Nyx alone.
In the classic Greek tragedies, Nemesis appears chiefly as the avenger of crime and the punisher of hubris and as such is akin to Ate, the Greek goddess of mischief, delusion, ruin, and folly and the Erinyes.
In some metaphysical mythology, Nemesis produced the egg from which hatched two sets of twins: Helen of Troy and Clytemnestra and the Discouri Castor and Pollux.
From the fourth century onward, Nemesis, as the just balancer of Fortune´s chance, could be associated with Tyche.
Tyche (meaning "luck"; roman equivalent: Fortuna) was the presiding deity that governed the fortune and prosperity of a city, its destiny. She was the daughter of Aphrodite and Zeus or Hermes.
The Romans sometimes named Nemesis Invidia and described her as a goddess not only of the jealous indignation aroused by hubristic boasts but also as the goddess of jealousy in general.
A festival called Nemeseia was held at Athens. Nemesis was also worshipped in Patrai, Anatolia, Rhamnos and Smyrna.
Nemesis was usually depicted as a winged goddess.
Her attributes were apple-branch, rein, lash, sword, scales, rudder, and wheel.
►"Nemesis" ("The Great Fortune"). Engraving by Albrecht Dürer (1502):
"Nemesis" ("The Great Fortune") by Albrecht Dürer (1502).
Nemesis portrayed with a steering wheel, from a temple in Rhamnus. (Hellenistic period).
http://en.wikipedia.org/wiki/Nemesis_%28mythology%29
http://www.pinterest.com/magistramichaud/gods-of-justice-retribution/
http://www.paleothea.com/Goddesses/N/
http://www.loggia.com/myth/nemesis.html
►Last but not Least: Excellence Blog Award:
Excellence Blog Award.-
I want to thank Gi from Tagirrelatos for nominating me for an Excellence Award.
Make sure to check out her blog in order to read great, creative posts in Spanish… Anyhow, you can always use the translator 😉
►Here are the Award Rules:
1) The nominee shall display the respective logo on her/his blog and link to the blogger that has nominated her/him.
2) The nominee shall nominate ten (10) bloggers she/he admires, by linking to their blogs and informing them about the nomination.
Note: I will nominate -in no particular order- new followers and/or great bloggers I have recently met or that I haven't nominated yet.
►These are my nominees for the Excellence Blog Award:
1. Swittersb and Exploring 2. Comicsgrinder 3. The Bonny Blog 4. Zimmerbitch 5. Jude's Threshold 6. Risty's Breath 7. K Clips 8. Jazz You Too 9. Weggieboy's blog 10. Joëlle Jean-Baptiste
Greek Mythology: "The Erinyes" (The Furies) / Poetry: Verónica Boletta: "Three".-
Posted in Arte, Literatura, Mitología, Poesía, tagged Aeschylus, Aeschylus's "Oresteia", Agamemnon, Allecto, Athena, Clytemnestra, Erinyes, Euripides, Gaia, Hades, Hesiod, Megaera, Moirae, Nyx, Orestes, Persephone, Sophocles, Tisiphone, Uranus, Verónica Boletta on 11/27/2014| 218 Comments »
►Greek Mythology: "The Erinyes" (The Furies):
►Poetry: Verónica Boletta: "Three":
In Greek Mythology, the Erinyes were mainly goddesses of vengeance.
The name Erinnys, which is the more ancient one, was derived by the Greeks from the erinô or ereunaô, I hunt up or persecute, or from the Arcadian word erinuô, I am angry; so that the Erinnyes were either the angry goddesses, or the goddesses who hunt up or search after the criminal
The goddesses were often addressed by the euphemistic names Eumenides ("Kind Ones") or Semnai Theai ("Venerable Goddesses"). Eumenides signifies "the well-meaning," or "soothed goddesses".
They were probably personified curses, but possibly they were originally conceived of as ghosts of the murdered.
They were depicted as ugly, winged women with hair, arms and waists entwined with serpents:
"You handmaidens, look at them there: like Gorgones, wrapped in sable garments, entwined with swarming snakes!". Aeschylus, "Libation Beaers" (Greek tragedy C5th B.C.).
According to the Greek poet Hesiod, they were the daughters of Gaia (Earth) and sprang from the blood of her mutilated spouse Uranus; in the plays of Aeschylus, they were the daughters of Nyx; in those of Sophocles, they were the daughters of Darkness and of Gaia. Euripides was the first to speak of them as three in number.
Later authors named them Allecto ("Unceasing in Anger"), Tisiphone ("Avenger of Murder"), and Megaera ("Jealous").
Among the things sacred to them we hear of serpents, chthonian animals associated with the Underworld. Also their sacred bird was the screech owl, a nocturnal bird of ill omen, closely associated with curses and the gods of the dead. As to the plants, they were associated to the narcissus.
They were particularly worshipped at Athens, where a festival called Eumenideia was celebrated in their honour.
These goddesses were sometimes seen as servants of Hades and Persephone in the Underworld.
As the Erinyes not only punished crimes after death, but during life on earth, they were conceived also as goddesses of fate, who, together with Zeus and the Moirae, led such men as were doomed to suffer into misery and misfortunes.
The wrath of the Erinyes manifested itself in a number of ways.
The most severe of these was the tormenting madness inflicted upon a patricide or matricide. Murderers might suffer illness or disease; and a nation harbouring such a criminal, could suffer dearth, and with it hunger and disease.
This is mostly what happens in Aeschylus's "Oresteia", a three-act drama of family fate, like the "Oedipus trilogy" by Sophocles.
The three parts of "The Oresteia" are: First: "Agamemnon". Second: "The Libation Bearers". Third and last play: "The Eumenides".
In "Agamemnon", Clytemnestra herself murders his husband Agamemnon.
In "The Libation Bearers", Clytemnestra is murdered by her son Orestes.
In the third and last play,"The Eumenides", Orestes is judged because of his crime by a jury composed of Athena and twelve Athenians. Although Orestes' actions were what Apollo had commanded him to do, Orestes has still committed matricide, a grave sacrilege. Because of this, he is pursued and tormented by the terrible Erinyes.
In Aeschylus' tragedy "The Eumenides", the Erinyes introduce themselves and later on, say to Orestes:
"We claim to be just and upright. No wrath from us will come stealthily to the one who holds out clean hands, and he will go through life unharmed; but whoever sins and hides his blood-stained hands, as avengers of bloodshed we appear against him to the end, presenting ourselves as upright witnesses for the dead". (Aeschylus' Oresteia "The Eumenides". 310).
"We drive matricides from their homes … Since a mother's blood leads us, we will pursue our case against this man and we will hunt him down"… (Aeschylus' Oresteia "The Eumenides". 230).
"Allow us in return to suck the red blood from your living limbs. May we feed on you -a gruesome drink! We will wither you alive and drag you down, so that you pay atonement for your murdered mother's agony". (Aeschylus' Oresteia "The Eumenides". 265).
At Delphi's Oracle, Orestes has been told by Apollo that he should go to Athens to seek the aid of the goddess Athena.
Once in Athens, Athena arranges for Orestes to be tried by a jury of Athenian citizens, with her presiding.
The Erinyes appear as Orestes' accusers, while Apollo speaks in his defense. The jury vote is evenly split.
Athena participates in the vote and declares Orestes acquitted because of the rules she established for the trial.
Despite the verdict, the Erinyes threaten to torment all inhabitants of Athens.
Athena, however, offers the ancient goddesses a new role, as protectors of justice. Thus, she persuades them to break the cycle of blood for blood, as as mercy should always take precedence over harshness. This threat satisfy the Erinyes, who are then led by Athena in a procession to their new city.
►Gallery: "The Erinyes" (The Three Furies):
►Poetry: A poem by Verónica Boletta: "Three":
is revenge.
Impious triad of
blood,
tears and whips.
Talion's trident, (*)
incarnated in snakes:
haughty,
horrific and
unmentionable.
Each murder
finds punishment
in the gathering point
in which Eternity
and Infinite
turn into Hell.
is not solace,
nor sheltering sky.
madness.
©2014 Verónica Boletta.-
Note: (*) Talion: the system or legal principle of making the punishment correspond to the crime; retaliation.
●▬▬▬▬▬▬๑۩۩๑▬▬▬▬▬▬●
►About Verónica Boletta:
Verónica lives in La Plata, Buenos Aires, Argentina. She has a degree in Economic Sciences.
'Numbers' are her Career of Currency as she says.
Regardless, she has her own "B side". She is also a writer and therefore likes to embrace 'Words', particularly in the shape of great poems…
So, being this said and without further ado, make sure to check out Verónica's blog here. Also feel free to connect with her at Twitter.
Verónica Boletta dixit: "Abrazo los números como profesión de divisas y las palabras como profesión y esperanza de vida. Reescribo mis credenciales y mis cartas de presentación así como borroneo en bocetos, la vida. Soy la mirada y el ojo, los sonidos y el oído, las letras del abecedario y las palabras, los pies en la tierra y la esperanza en el cielo".~
Verónica Boletta.-
http://www.britannica.com/EBchecked/topic/222733/Furies
http://www.theoi.com/Khthonios/Erinyes.html
http://en.wikipedia.org/wiki/Erinyes
http://dutchie.org/goddess-erinyes/
http://www.maicar.com/GML/ERINYES.html
http://www.mythencyclopedia.com/Fi-Go/Furies.html


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text:
An integer that is a multiple of 3 greater than 27 and less than 32?
Chrisgreer ∙
Q: An integer that is a multiple of 3 greater than 27 and less than 32?
When you subtract a positive integer from another integer is the difference greater than or less than the original integer?
Why cant a negative integer be greater than a positive integer?
By definition, a negative integer is any integer less than zero. Similarly, a positive integer is any integer greater than zero. It should be immediately obvious that an integer cannot be both less than and greater than zero. Therefore, a negative integer cannot be greater than a positive integer.
What integer is less than -20 but greater than -21?
What is an integer that is greater than -5 but less than or equal to 9?
an integer that is greater than -5 but less than or equal to 9 is _______________. remember you need to answer it by yourself.
What integer is greater than 10 but less than -15?
What integer is greater than -25 but less than -11?
Any integer from -12 to -24
What is an integer that is greater than or equal to one but less then two?
One is an integer, it is equal to one and less than two.
Is -14 greater than less than or equal to 14?
Negative 14 is less than 14 because a positive integer is always greater than a negative integer. EX: -16 is less than 1
Which integer is greater than -10 and less than -5?
What integer is greater than 10 and less than -15?
Which integer is not less than -11?
Any integer that is greater than -11, eg -10, -4, 577.
When a lesser integer is divided by a greater integer what will the quotient be?
The quotient will be less than one.
Asked By Chrisgreer


text:
Animals' Manifesto
Two-step guide for protecting animal welfare in the UN Biodiversity Convention
Blog, Convention on Biological Diversity
Why and how the United Nations should include animal welfare in the post-2020 Global Biodiversity Framework
This week, the UN Convention on Biological Diversity process will take the next step in discussions on the most recent draft of its new ten-year strategy to protect biodiversity on a global scale.
The World Federation for Animals and a coalition of animal welfare organisations have submitted a position paper laying out how this convention can integrate animal protection and recognise the intrinsic links between the welfare of animals, the planet and humans in order to reduce the future risk of pandemics that could arise from humanity's interactions with wild animals and biodiversity.
1 million species are at risk of extinction.
When animals suffer and face extinction, it has a knock-on effect that disrupts the environment, food systems, human livelihoods, accelerates climate change and increases the risk of pandemics. The Global Biodiversity Framework (GBF), scheduled to be adopted at the 15th meeting of the Conference of the Parties in 2022 in Kunming, is a unique opportunity to change track and include the need to better protect animals as part of the natural world.
However, although overexploitation of nature is a key driver of extinction and biodiversity loss, the current draft of the GBF, which acts as the strategy for the convention for the next decade and guides implementation of biodiversity and wildlife policy in signing countries, fails to effectively address this exploitation of biodiversity, including animals.
Through the World Federation for Animal's (WFA's) working group on the Convention for Biological Diversity chaired by Born Free, a coalition of animal welfare organisations are calling on the Open-Ended Working Group to create a draft that:
1. Clarifies and expands the definition of 'sustainable use'
Sustainable use of the components of biological diversity is one of the three founding objectives of the Convention on Biological Diversity ('CBD').
However, 'sustainable use' as applied in the current draft framework prioritises "meeting people's needs" over the reduction of exploitation and elimination of threats to biodiversity and the active conservation and restoration of biodiversity in order to halt its loss and ensure its long-term recovery.
The new draft should flip this approach and treat 'sustainable use' according to strict criteria for assessing biological and ecological sustainability. The organisations also argue that the three objectives of the convention (conservation, sustainable use, and equitable sharing of benefits) must be considered as a "cascade", with sustainable use and benefits only possible with effective conservation and stabilization of ecosystems and species.
2. Integrates animal health and welfare considerations
The COVID-19 pandemic made it clear that we need real transformative change to our relationship with wildlife and nature. The World Organisation for Animal Health recognises that "human health and animal health are interdependent and bound to the health of the ecosystems in which they exist". Over 70% of new diseases are zoonotic in origin. COVID-19 was not an anomalous event: it was a predictable outcome of our exploitation of nature, and if we don't change track, may be the start of many future pandemics.
The post-2020 GBF must recognise this threat and integrate animal health and welfare by recommending truly transformative approaches to mitigate pandemic risks, conserve and protect biodiversity, while halting and reversing its loss, and to reset our fundamental relationship with the natural world.
With the IPCC report showing what is at stake without robust and effective action to protect the natural environment, it is painfully clear that there are still serious gaps in policies and in the international commitments of policymakers to close the gap between our current situation, and a world that is sustainable for humans, animals and the planet alike.
The Open-Ended Working Group discussions are a unique chance to create a Global Biodiversity Framework that helps close this gap and builds a relationship between humans and nature that brings us closer, not further, from the goal of 'living in harmony with nature' by 2050.
Download the position paper
Dr Sabine Brels
Sabine Brels is the legal advisor to the World Federation for Animals. In 2014, she cofounded the Global Animal Law (GAL) Association and led work on several projects, including the creation and update of the first complete Animal Welfare Legislation Database.
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The World Federation for Animals advocates for policies to protect #AnimalWelfare at a global level and unite the animal protection movement.
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Our 1st annual review is just in!
In 2022, we advocated, coordinated, informed and grew as a global federation making international policies work for animals.
Dive into and discover last year's highlights and the progress we made for #AnimalWelfare ⤵
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🟢LIVE from the 2023 #ECOSOC partnership forum
Let's talk about the links between #AnimalWelfare and the #SDGs with @pfrasch & @UNECOSOC
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The main reason for soaring egg costs is the current avian flu outbreak.
The United States Department of Agriculture says it is the worst on record and has contributed to the deaths of 50.54 million birds so far. 😨
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"We've paid much more attention to catching and monitoring emerging diseases (...) than to addressing the root causes of pandemics: habitat destruction, animal farming, and wild animal trade." @HopeFerdowsian
Our recommended Sunday read: https://harvardpublichealth.org/environmental-health/silent-spring-at-60-holds-powerful-lessons-for-public-health/
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text:
Delhi Deadlines
PodcastListen to a podcast of the novel
Podcast 1
Contents: Chapter 1, Part 1
In this first podcast, we begin to understand the relationship between the main character, Colin, and Wyndham Charles. The chapter begins like this:
Wyndham's body lay in a crypt beneath the ground floor offices of the police station. It was a pleasant little room, the body notwithstanding. Very earthy, and cool.
"This is a tykhana," Inspector Prabash told me. He meant the room we were in. "It is built as an escape from the heat. We come down here in summer months during tiffin breaks. Bodies are a rarity. This is Dr. Charles?" he asked.
Please turn on JavaScript!
This second podcast closes off the first chapter of the novel. A new character is introduced, Carol Lal, a representative from the British Embassy in Delhi, who has been sent to Mahaban to assist Colin following the death of Wyndham Charles. The section begins like this:
There was a rattle at the door - in fact a knock, but the door was loose on its hinges and shook in the frame. There was something hard and authoritative about the sound, official somehow - a policeman's knock, I thought - and I imagined it was one of Inspector Prabash's men at the door, come to take me back to the station for more questioning. I was uncomfortable with this thought: the minutes of sleep had only made me feel rougher, less focused. I had even less desire for evasion now than when Inspector Prabash had been quizzing me before.
In fact, it wasn't one of his men at the door. It. was the representative he had sent for from the British Embassy in Delhi. It was Carol Lal.
Length: xx:xx
The third podcast will appear here shortly. The section begins like this:
It was ironic. For it to have ended like that... Before my arrival in India I had had only one intention regarding Wyndham: that I wouldn't on any account have any dealings with him, wouldn't see him, speak with him, anything. So strong was this desire that it had almost prevented me from taking up my assignment in the country in the first place. I had been offered the posting in Delhi after the previous correspondent had fallen ill - cancer was the preliminary diagnosis - and been flown home to consult specialists, take tests. I was here simply as his replacement, although from the moment I had accepted my editor's offer, there had been doubts. Just too weak. Until too late. As my plane was taxiing on the runway, about to leave Heathrow, I felt a pang of trepidation grab at my heart. I foresaw disaster. I somehow knew my intentions would go awry. I would seek Wyndham out, or he would look for me, we would meet, there would be words, and then... what?
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Dead Men's Fingers
A River of Life
A washed out journalist, posted to India, uncovers truths about his son's life and death in the country.
Computer technician, clairvoyant, telepath, mental health patient: just who is the real J.?
A young girl, molested and killed. Five lives, tangled in the web of this horrific crime...
Sheldon's experiences of his travels around the Indian Subontinent.
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If you're preparing for a role with a lot of jumping, consider stealing a page from Stella Abrera's cross-training regimen. The American Ballet Theatre principal focuses on agility the month leading up to allegro-heavy performances. "I start off easily, with low reps and low intensity," she says, adding difficulty as the weeks go on. To warm up, she alternates five minutes on the elliptical with one minute of jumping rope to build stamina. Then, she draws an imaginary line on the ground and repeatedly hops over it in parallel, side to side and front to back.
"To target the upper leg and help strengthen takeoff and landing, I do box jumps," says Abrera. She'll do 10 reps of the following: from a small, parallel second position, she jumps onto a foot-tall wooden box—"taller if I'm getting stronger"—holds the deep plié landing there for a few seconds, then steps down to avoid the impact of hopping off the box. She incorporates the series into a circuit of exercises, which she switches up depending on the other areas she's conditioning that day. "I have quite an arsenal, a variety of exercises, that I use to target body parts that need extra strengthening or engagement."
Strong abdominals are integral to Abrera's dancing, especially after she suffered a serious back injury 10 years ago. "I do a core stabilization workout almost every day," she says, mentioning a physio ball as her go-to prop. From a plank position with her hands on the floor and feet on the ball, she does exercises like piking up with straight legs or drawing her knees toward her chest to strengthen her abs and the front of her body.
Abrera also uses the physio ball to condition her back, hamstrings and glutes. She'll lie on her back, rest her calves and ankles on the ball, and lift into a series of bridge variations.
Despite Abrera's rigorous rehearsal and conditioning schedule, she doesn't sacrifice self-care. "I try to get a massage once a week. If the schedule is really crazy, I'll get two."
"I try to eat as healthily as possible. Not a lot of refined carbohydrates and a good balance of proteins and vegetables." For a homemade winter meal, Abrera roasts chicken thighs with garlic, lemon slices and butternut squash and pairs it with a small salad.